scholarly journals Limitation and Overcoming in New Women Literature: Ella Hepworth Dixonʼs The Story of a Modern Woman

2017 ◽  
Vol 17 (1) ◽  
pp. 55-79
Author(s):  
ilgu Kim ◽  
김희선
Keyword(s):  
New Women ◽  
Women Literature

The efficacy of 17b-estradiol and low dosed drospirenone use in postmenopausal women (literature review)

GYNECOLOGY ◽  
2015 ◽  
Vol 17 (1) ◽  
pp. 34-40
Author(s):  
E.N. Andreeva ◽  
◽  
O.R. Grigoryan ◽  
Yu.S. Absatarova ◽  
◽  
...  
Keyword(s):  
Literature Review ◽  
Postmenopausal Women ◽  
Women Literature

Guns, Puzzles, and Selfies: Curating the “New Women of the Harrison Era” Exhibition

2017 ◽  
Vol 113 (2) ◽  
pp. 152
Author(s):  
Gloria Lopez ◽  
Dawn Bakken
Keyword(s):  
New Women

“Fairy of Light”

2017 ◽  
Author(s):  
Penny Farfan
Keyword(s):  
Oscar Wilde ◽  
New Women ◽  
Central Aspect ◽  
The Uncanny

This chapter focuses on Loie Fuller’s Fire Dance to exemplify the interplay between performer and character as a central aspect of queer modernist performance that was foregrounded through the uncanny qualities of Fuller’s work. Charting Fire Dance from its origins in Fuller’s 1895 version of Salome through to its reworking as a solo and its reappearance in her autobiography, the chapter traces a queer genealogy of uncanny doubles that included Oscar Wilde, Salome, heretical witches, and new women in an incremental layering of queer and feminist resonances that flickered into view through Fuller’s experiment in illuminated dance. The uncanny in Fuller’s work thus emanated from an integral and coproductive relationship between modernist aesthetics and sexual queerness that intersected through her performing body in an intensification of the interplay between character and role, onstage and offstage, and representation and presence that was a crucial facet of queer modernist performance.

Family Livelihood, Social Class and Mothers’ Self-cognition: The Transformation of “Mothering” in Japanese Colonial Taiwan (1895–1945)

2020 ◽  
pp. 036319902094573
Author(s):  
Yujen Chen
Keyword(s):  
Social Class ◽  
Lower Class ◽  
Household Tasks ◽  
New Women ◽  
Biological Mothers ◽  
Professional Careers ◽  
Taiwanese Women ◽  
Women's Lives ◽  
Japanese Colonial ◽  
Physical Care

Based on oral histories and diaries of women who lived in the Japanese colonial period, this article analyzes the role and transformation of “mothering” in Taiwan, examining how the Han Chinese patriarchal society in Taiwan responded to colonialization and modernization in the early twentieth century. It reveals that most Taiwanese women at that time married in their teens and began to take on the tasks of mothers before the age of twenty. Difference in social class served as a key element affecting mothering practices. Rural and lower-class mothers had no choice but to prioritize productive labor over physical childcare; women of the traditional upper class could afford nannies; the emerging group of “new women” hired lower-class women to help with household tasks and childcare while they developed their professional careers. In addition to the physical care of children, Taiwanese mothers put great emphasis on the education and future development of children, especially sons. However, as the custom of “daughters-in-law-to-be” was quite common, from an early age many girls faced only their “mothers-in-law-to-be” instead of their biological mothers. “Mothering” was thus absent in these women’s lives, complicating the meaning of “motherhood.”

The Wise Old Men and the New Women: Christopher Lasch Besieged

1979 ◽  
Vol 19 (1) ◽  
pp. 125
Author(s):  
Berenice M. Fisher ◽  
Christopher Lasch
Keyword(s):  
New Women ◽  
Christopher Lasch ◽  
Old Men

“BALLADS IN PROSE”: GENRE CROSSING IN LATE-VICTORIAN WOMEN'S WRITING

2006 ◽  
Vol 34 (2) ◽  
pp. 619-629 ◽  
Author(s):  
Margaret D. Stetz
Keyword(s):  
Visual Arts ◽  
Oscar Wilde ◽  
Double Standard ◽  
Same Sex ◽  
Independent Contribution ◽  
New Women ◽  
Fictional Narratives ◽  
Production And Consumption ◽  
Definition Of ◽  
Periodical Publishing

“Oh, it is indeed a burning shame that there would be one law for men and another law for women. I think that there should be no law for anybody” (Beckson, I Can Resist 100). So said Oscar Wilde to a journalist interviewing him in January 1895. And for the first five years of the 1890s, it looked as though the British literary and publishing worlds, at least, were increasingly in accord with this Wildean perspective. Texts challenging the double standard of heterosexual conduct proliferated, even as bold articulations of same-sex desire appeared. At the same time, laws of all sorts that governed the production and consumption of literature seemed to be struck down daily. The three-volume novel declined and, with it, the circulating libraries' law of conforming to Mudie's definition of the reading public's tastes. New Women and other new realists gleefully violated the laws that required fictional narratives to end with marriage or, indeed, to provide some version of closure. In the sphere of periodical publishing, the law demanding that the visual arts be subordinate to words vanished in April 1894 with the first issue of the Yellow Book. The Bodley Head's new quarterly proudly stated that “The pictures will in no case serve as illustrations to the letter-press, but each will stand by itself as an independent contribution” (Stetz and Lasner 8).

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